Since the late 1960s, Bertrand Lavier’s œuvre has subverted the traditional categories of artistic classification. Exploring the relationships between painting and sculpture, representation and abstraction, life and art, "[...] one of the most important and elementary principles for [him] is precisely [that he doesn’t] want to be the prisoner of any aesthetic" (‘Bertrand Lavier depuis 1969’, Centre Pompidou, 2012). Moving fluidly from one medium to the next within the controlled space of his exhibitions, he continuously develops and experiments with strategies of translation, transposition, and conversion, ultimately disrupting our familiar ways of perceiving and conceiving art.